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Conservation and Development of Traditional Thai Silk Production for Added Commercial Value in Khon Kaen Province

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Conservation and Development of Traditional Thai Silk Production for Added Commercial Value in Khon Kaen Province Asian Culture and History; Vol. 7, No. 1; 2015 ISSN 1916-9655 E-ISSN 1916-9663 Published by Canadian Center of Science and Education Silk Patterns: Conservation and Development of Traditional Thai silk Production for Added Commercial Value in Khon Kaen Province Kasinee Sawasdee1, Boonsom Yodmalee1 & Kosit Phaengsoi1 1 The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham Province, Thailand Correspondence: Kasinee Sawasdee, The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham Province 44150, Thailand. E-mail: [email protected] Received: June 9, 2014 Accepted: July 14, 2014 Online Published: September 22, 2014 doi:10.5539/ach.v7n1p41 URL: http://dx.doi.org/10.5539/ach.v7n1p41 Abstract Silk patterns are examples of fine art that show the valuable culture and identity of Thai communities. This is a qualitative research and the researchers used a purposive sampling technique to identify four districts in Khon Kaen province for assessment by means of survey, observation, interview, focus group discussion and workshop. The history and development of silk patterns in Khon Kaen province occurred from a process of pattern making called mudmee. The techniques were passed from generation to generation, copying plant and animal patterns in nature. Silk patterns developed in three ways: 1) using mudmee patterns as a model; 2) imitating television, fashion magazines and other media; 3) following specific commission specifications of customers. Production processes are mudmee (silk blending) and tammee (silk marking), which require original wooden equipment reinforced with steel for strength and electrical motors for speed. Both simple silk fibres and factory silk fibres are used and patterns are created based on traditional designs. In order to develop silk pattern production for added commercial value, original patterns with contemporary character must be chosen and expanded as bigger and more varied products, such as handbags. New silk patterns sold in local and regional markets will boost the income of people in Khon Kaen Province. Keywords: silk, patterns, production, product development, conservation 1. Introduction Weaving reveals the inherited identity of ethnic groups. Woven products are produced in response to everyday needs and are physical representations of culture, traditions, ideas and beliefs (Suwan, 2009). In Thailand, there is archaeological evidence suggesting that white mulberry (Morus alba) has been cultivated and silkworms (Bombyx mori) bred for over three thousand years. The long history of silk weaving has allowed the development of many weaving processes, dyeing techniques and pattern designs that show different community identities, social conditions, lifestyles and traditional knowledge (Methawin, 2008). In the past, Thai silk was not accepted by the world market and, consequently, domestic popularity suffered. This situation changed after World War II, when American businessman Jim Thomson revived the Thai silk industry and increased the reputation of Thai silk across the world (Klungpanyathai, 2009). North-eastern Thai, or Isan fabric is regarded as some of the best quality fabric in the country due to the weaving patterns and colours that differ in each locality. The most woven fabrics of Isan are khid and mudmee, while in the North almost all weavers produce cloth based on Lanna styles and in the South yok is the principal fabric. Although modern weaving is becoming homogenised, it is possible to find local products that retain their original identity (Silpakorn University, 2001). Fibre production is not easy. In addition to loom weaving of natural coloured fabric, weavers incorporate their own pattern variations. The patterns are often influenced by everyday objects, including key patterns (pra jae), hook patterns (kho) and pigtail patterns (kha-pia). Other patterns include the tum pattern, based on fishing equipment; flower or fruit based ba and krabok patterns; floral dok sarn, dok jik, dok yung, dok kaew and dok pi kul patterns; phong nam sponge patterns; and kho kra jorn patterns, replicating earrings. Aside from everyday objects, patterns are also derived from beliefs and imagination, such as the patterns of nak kho, nak hua chor and nak khon tee (Office of Archaeology and the National Museum, 1997). Silk patterns have been inherited from 41 www.ccsenet.org/ach Asian Culture and History Vol. 7, No. 1; 2015 generation to generation and reveal the values, lifestyles, visions, traditions and culture of women in Isan, who were the primary weavers. Isan people consider silk a valuable commodity and are proud of their ancestral weaving traditions (Phojanee, 2000). Khon Kaen province is the most important silk production area in modern Isan and production groups in the region emphasise silk production to add commercial value to community enterprises. There are many important and outstanding silk production businesses. Chonnabot District is the most famous district for silk production and particularly mudmee silk (Nartnapang, 2005). Mudmee silk patterns in Khon Kaen province have developed so fast and so extensively that outsiders are ignorant of the original patterns, weavers imitate eye-catching styles and the silk products have lost their traditional local identity. New products combine traditional knowledge with modern technology and the designs are pre-produced using graph paper and computer programs. Problems occur when the older generations, who are the sole source of information regarding traditional patterns, cannot blend either old or new patterns because they do not have the skill to use modern machinery. For this reason and given the traditional importance and value of Isan silk weaving, the research team wished to analyse conservation and development of traditional Thai silk production for added commercial value in Khon Kaen Province. The objective was to conserve and develop original silk patterns, integrating new concepts in silk pattern design and production to meet local requirements and appeal to consumers. It is hoped that the knowledge gathered from this research can be applied to promote community economy and job creation in North-eastern Thailand. 2. Methodology This is a qualitative research with two main aims: 1) To study the history and development of Thai silk patterns in Khon Kaen province; 2) To study the conservation and development of Thai silk production for added commercial value in Khon Kaen province. The researchers used a purposive sampling technique to identify six mudmee silk production groups in four districts of Khon Kaen province for analysis. The research area has a fifty-year history of commercial silk production integrating traditional knowledge inherited from ancestral communities. The key informants were academics, teachers, local community members and production group leaders. The casual informants were manufacturers in the four districts. The general informants were traders and consumers. Tools used for data collection were survey, participant and non-participant observation, structured and unstructured interview, focus group discussion and workshop. The data collected during field study and document research was organized according to the two aims of the investigation. Data was validated using a triangulation method, as documented by Supang Chantavanit (2002). The research data was analyzed using analytic induction, typological analysis and constant comparison. The study began in March 2012 and ended in June 2013. 3. Results The first mudmee silk production group was formed in 1984. In the past, two silk patterns were produced in Khon Kaen Province, mak jub (Figure 1) and kho lho (Figure 2). Mak jub was the archetype that all mudmee silk leaders in Khon Kaen Province learned and inherited. Production knowledge was especially important in Chonnabot District, where mak jub was first conceived (Thongsook, 2012). Figure 1. The identity of mak jub patterns 42 www.ccsenet.org/ach Asian Culture and History Vol. 7, No. 1; 2015 Figure 2. The identity of kho lho patterns At present, various patterns are produced in Khon Kaen Province. Most of these designs are imitations from elsewhere and originate in external consumer fashion and from the media. Designs are generally produced in the community and made repeatedly. Occasionally the patterns are named. These named designs give an identity to the founding production group and are transformed to create male and female clothes (Supanee, 2011). Local pattern identities are: • Phong nam hua phay (Figure 3) of Ban Hua Phay in Po Daeng Sub-district, Chonnabot District. • Jee phetch (Figure 4) of Ban Nong Krong Kaew in Chonnabot Sub-district, Chonnabot District. • Animal patterns such as kai, or chicken pattern (Figure 5) and five-heddle spot pattern nop pa kaow (Figure 6) of Ban Chonnabot in Si Bun Rueang Sub-district, Chonnabot District. • Nong ya plong (Figure 7) of Ban Nong Ya Plong in Phon Phek Sub-district, Mancha Khiri District. • Buy sri pha ya nak (Figure 8) of Ban Kham Wari in Mueang Phia Sub-district, Ban Phai District. • Kho sam sib jed (Figure 9) of Ban Chad in Kham Pom Sub-district, Phra Yuen District. Figure 3. The identity of phong nam hua phay patterns 43 www.ccsenet.org/ach Asian Culture and History Vol. 7, No. 1; 2015 Figure 4. The identity of jee phetch patterns Figure 5. The identity of animal patterns (chicken) Figure 6. The identity of nop pa kaow patterns (five heddles)
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